https://tidsskrift.dk/kok/issue/feed K&K - Kultur og Klasse 2019-06-19T11:41:04+02:00 Jonas Ross Kjærgård litjrk@cc.au.dk Open Journal Systems https://tidsskrift.dk/kok/article/view/114740 Sammenligninger 2019-06-19T11:41:04+02:00 Anne Ring Petersen annering@hum.ku.dk Frits Andersen litfa@cc.au.dk Karen-Margrethe Simonsen litkms@cc.au.dk 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114742 Hvorfor ikke sammenligne? 2019-06-19T11:41:03+02:00 Susan Stanford Friedman ssfriedm@wisc.edu <p>This article gives a critical overview over risks inherent in comparison, –risks of inequality between the two compared phenomena, the risk of using a normative standard, derived from one work or context for the evaluation of another work or another context, the risk of reducing the uniqueness of a work to generic or topical dimensions etc. However, the article moves on to make a strong argument for the necessity of comparison. It suggests the development of a more dynamic, dialectic and relational form of comparison. The article argues that any comparison is full of contradictory movements and therefore argues that a modern comparative method should focus on incommensurable juxtapositions, on contrapuntal opposition and reciprocity.</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114741 Relationel komparatisme 2019-06-19T11:41:04+02:00 Anne Ring Petersen annering@hum.ku.dk Karen-Margrethe Simonsen litkms@cc.au.dk <p>This article addresses a question crucial to contemporary cultural analysis: the question of how to compare and what to compare in a globalized world. Modern comparativism has effectively undermined the very foundation of historical comparativism, i.e. the idea of confined and segregated (national) cultures and Eurocentric perspectives and perceptions of what is historically significant, and what is not. The article opens with a discussion of some important critical revisions of comparative methodologies in the fields of comparative literature and art history, and then moves on to call for a relational comparativism that is attentive to three aspects: context, dynamics/agency and circulation. To indicate what the implications of a relational comparativism might be, we conclude with two case studies of the autobiography The Interesting Narrative of the Life of Olaudah Equiano (1789) and the commemorative sculpture I Am Queen Mary (2018) by artists Jeannette Ehlers and La Vaughn Belle. Both works are related to the history of slavery; a history that in significant ways points to the need for rethinking comparativism.</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114743 Den planetære vending 2019-06-19T11:41:03+02:00 Frits Andersen litfa@cc.au.dk <p>Leading scholars of Comparative Literature Susan Friedman and Gayatri Chakravorty Spivak have proposed planetarity as a paradigm for research that captures the linguistic, economic and ecological complexity of the planet better than concepts such as, for example, the global and world literature. The article is a critical dialogue with Amy Elias and Christian Moraru’s The Planetary Turn. Relationality and Geohethetics in the Twenty-First Century (2015), an ambitious attempt to gather a highly heterogeneous field of theories of the functioning of literature and art in emergent forms of global relationality and new volatile political communities. The planetary reading perspective involves special attention to scale and employs combinations of macroscopic and microscopic analytical strategies, which the article seeks to show through a comparative mapping of patterns in clusters of texts around Joseph Conrad’s Heart of Darkness and the Virunga National Park in DR Congo.</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114744 ”Qui est Dominique Lambert?” 2019-06-19T11:41:03+02:00 Maja Bak Herrie mbh@cc.au.dk <p>Comparison as a methodological or technical tool to perceive something that was not perceptible beforehand is a complex manoeuvre that gives rise to both potentials and challenges. While emphasising concealed or unseen similarities in artworks or literature, comparison also risks operating on the expense of the potential distance between the two subject matters compared. This article argues that the complex and curious art project Dominique Lambert (2004-2016) by the French artist Stéphanie Solinas offers itself as a valuable starting point for a discussion of a range of meta-theoretical and methodological questions related to ideas of comparison in a broader theoretical framework. The project not only questions how or when a comparison is possible, but also what the nature of comparisons is, and how comparisons are legitimised as such in humanistic knowledge production. Thus, it is the central hypothesis of the article that modes of comparing build upon ideas of virtuality, that is, that the ‘object’ of the comparison is produced as a manoeuvre connecting or relating two previously separated subject matters. Accordingly, Gilles Deleuze’ idea of virtuality is applied in order to understand and discuss prevailing uses of comparison, e.g. in the recent field of Digital Humanities.</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114752 Sans og samling 2019-06-19T11:41:03+02:00 Anders Troelsen at@aarch.dk <p>Mapping a span of extrinsic and intrinsic relationships between music and visual arts (including film), the article discusses ways of comparative analysis. It takes its starting point in concrete examples and proposes some provisional categories for this kind of aesthetic examination. Important for the comparative analysis is that it includes the specific sensory substance of the visual and auditory elements and sticks to a similar analytic level for both art forms. On the other hand, identifications of historical and structural convergence can assume an embarrassing concrete form without taking into account that often they should be located at a rather vague and overarching level. Acknowledging the necessity and usefulness of analogies, the article also warns against the obvious pitfalls involved.</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114746 Til sammenligning 2019-06-19T11:41:03+02:00 Rikke Andersen Kraglund norrak@cc.au.dk <p>Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors’ intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations.&nbsp;Generally, the conception of intertextual references in literary theory has been either very broad or very narrow and detail-oriented. On the one hand, Roland Barthes and Julia Kristeva conceive of intertext as a universal feature of all texts. No text is original and made by itself isolated from those existing before it. All texts, in short, are intertexts because they refer to other texts, conventions, and presuppositions beyond authors’ intentions. But this broad concept is difficult to work with in analyzing works of literature. It poses problems of identification and does not mark out a manageable area of investigation or object of attention with the undefined and infinite discursive space it designates and its idea about anonymous citations.&nbsp; On the other hand, we have the more restricted view that focuses on specific, readily recognized signs of intertextual relations between literary texts. Gérard Genette offers a vocabulary to describe the interaction between only two identifiable texts. In this article, I shall propose a third alternative that takes the middle ground and investigate what a rhetorical approach to intertextuality means for the understanding of the concept of comparison.</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114747 Torquato Tasso på (kryds og) tværs 2019-06-19T11:41:03+02:00 Lasse Raaby Gammelgaard norlg@cc.au.dk <p>The article contributes to research into the topos of furor poeticus or poetic madness and its prominence during the romantic period. In particular, it compares how the life story of the mad Italian poet from the Renaissance, Torquato Tasso, was represented in fictionalized versions across media and art forms. Romantic versions of Tasso’s life in drama (Wolfgang Goethe and B. S. Ingemann), poetry (Lord Byron), painting (Eugène Delacroix) and instrumental music (Franz Liszt) are analyzed with the aim of highlighting which aspects of Tasso’s life are portrayed, how the affordances of the medium affect the depiction and how intermedial references and transpositions are in play. In addition to intermediality theory, the transmedial narratology of Werner Wolf is introduced and employed to compare to what degree the different media and art forms can convey prototypical aspects of narrativity. Moving from the most prototypical to the least prototypical narrative genre, the article finds that the more representations of Tasso focus on his time spent in a madhouse, the more the narrative stresses experientiality at the expense of investment in plot development. The affordances of strong narrative media and strong and weak narrative-inducing media may highlight different aspects of the experientiality of furor poeticus, but in all cases the representation of Tasso is performed in an innovative romantic style. </p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114748 Fortidsløse fantaster 2019-06-19T11:41:03+02:00 Signe Leth Gammelgaard signe.leth.gammelgaard@lir.gu.se Jakob Gaardbo Nielsen jgn@cc.au.dk <p>The latter half of the 19th century saw a rise in novels focusing directly on the stock-exchange and its various actors. Scholarship on these has naturally zoomed in on the main character of the speculator and on the economic paradigm of speculation and financialization, and to a lesser degree concerned itself with the information circuits of the field. However, these studies almost invariably stay rooted within the national literatures; in this article we address the issue of comparativism within the stock-exchange novel, zeroing in on two rather canonical works, namely Anthony Trollope’s The Way We Live Now, and Émile Zola’s L’Argent. Both novels articulate the impact of information on the stock market and trades and they do so by crystallizing a character with the task of disseminating stories about the company they work for. However, these characters distil not only the strategies of advertising and press-directing, but also a certain moral, truth- and history-management. In the artricle we argue first that these characters function rather as placeholders for a specific set of values than as psychological personalities, and second that they lend themselves to a fruitful comparison between French and British literature and economics of the time, in turn fleshing out Trollope’s versus Zola’s view on the potential of a free press and its powers in the financial sphere.</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114749 Spiste horisonter og Tre piger og en gris 2019-06-19T11:41:03+02:00 Birgitte Thorsen Vilslev birgitte.vilslev@smk.dk <p>This article compares the sexual differences in two Danish avant-garde films. It suggests that the Danish feminist, collective film Three Girls and a Pig from 1971 with an actual castration of a young pig established a deconstruction of a phallic economy in line with the theory of the French feminist linguist Luce Irigaray. In comparison with the artist Wilhelm Freddie’s and filmmaker Jørgen Roos’ surrealist film, Eaten Horizons from 1950, this deconstruction may contribute to a feminist reinterpretation of the latter’s sadist and cannibalistic fetichization of the female body. Furthermore, the comparison sheds light on formal and aesthetic strategies, such as the surrealist magic and illusionism contrasted to feminist bodily realism, and the transgressive potentials of the bodily rituals in the two films. </p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114750 Medialiseringens litteratur? 2019-06-19T11:41:03+02:00 Erik Svendsen evs@ruc.dk <p>Anmeldelse af&nbsp;Tore Rye Andersen, Jørgen Bruhn, Nina Christensen, Stefan Kjerkegaard, Sara Tanderup Linkis, Birgitte Stougaard Pedersen og Hans Kristian Rustad (red.):&nbsp;Litteratur mellem medier.&nbsp;384 sider. Aarhus Universitetsforlag, Aarhus, 2018</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement## https://tidsskrift.dk/kok/article/view/114751 Globale strejftog i ny fransk litteratur 2019-06-19T11:41:03+02:00 Jørn Boisen jbois@hum.ku.dk <p>Anmeldelse af&nbsp;Mads Anders Baggesgaard:&nbsp;Nye franske verdener.&nbsp;292 sider. Aarhus Universitetsforlag, Aarhus, 2016.</p> 2019-06-11T00:00:00+02:00 ##submission.copyrightStatement##